And welcome back to 35,000 watts, the podcast. My name is Michael Millard. I am here with Keith Porterfield and Scott Mobley. We are three ex college radio DJs and executive staffers. And today, we are actually talking about music documentaries.
And, in case you don’t know, 35,000 Watts, the story of college radio is in fact a music documentary and is now available on Amazon Prime and on Google Play. So you can rent or buy 35,000 watts right now if you go to Amazon Prime Video, check it out. Or if you’re a Google person, go to Google Play and check it out. So we wanted to talk about our favorite, I guess, college radio related music documentaries. All three of these docs are about bands that were were most definitely college radio bands.
So you get kind of a taste of college radio music and college radio culture when you when you watch these docs, but also being that this is a college radio podcast, that’s important. But it’s also kind of a, you know, it’s a podcast about music documentaries as well. So this is the first time we’ve really talked about film or docs in in that subject, so I think it’ll be a lot of fun. We’re gonna kick it off today with mister Scott Mobley’s choice. Alright.
So, I will just start by, giving the title here, and I wanna give a little backstory after that. But this movie I’ve chosen is another state of mind. It is from 1984. People that know me know that the only thing I’m nerdier about than than music is movies. And so when I made a short list of, you know, music docs to do for this show, it was probably 35 films I wrote down that could have been what I’m talking about right now.
The reason I kept going back to this one is because this was really a formative movie for me back in the day, back in the eighties. And, so just a little backstory on this. Back in the old days, kids, we had this thing called cable television. And, but, basically, there was a a cable channel called USA that did a a block of programming called up all night. And it was like, I wanna say 10PM to 6AM every Friday, Saturday night, whatever it was.
I forget the exact, you know, all of that. But, basically, they would show late at night things they couldn’t show during the day and things that were a little maybe cult oriented or, you know, kind of bizarro movies and stuff like that. Well, one thing that they showed all the time was this movie, Another State of Mind. It is a documentary made in 1982 about two up and coming punk bands, going on tour for the first time and basically how sort of everything goes wrong. It’s like the spinal tap of hardcore punk, you know, except it’s really what’s happening to these kids really isn’t that funny.
But I remember seeing this movie. I would have been 12, 13 years old at the time and seeing this on TV late at night, and I sort of became mildly obsessed with it. I watched it all the time. Every time it was on, I probably saw it twenty, thirty times. And then sort of maybe forgot about it.
But I revisited it again a couple years ago, and, of course, I watched it again this week. And I was just really taken back to how much this movie really sort of opened my eyes to what that world was. So to describe the film a little bit, there are two bands here. One is called Youth Brigade. The other one is Social Distortion.
People listening probably heard one of those, I’m assuming. And, but both of these bands are unsigned Southern California punk bands playing clubs and, you know, whatever. They decide to rent a bus and go on tour together and sort of travel around The US and Canada. The bus breaks down everywhere they go, they can’t get paid everywhere they go, they sleep in buses, they sleep in hostels, they, you know, they run into different people. That’s the the basic gist of the movie.
But what’s interesting about it is how everywhere they go, there is a culture there. There is a group of like minded individuals who are enjoying this music and enjoying this, the scene that they have created. And on the counter side of that, there’s also people that are trying to sort of rein them in and stop them. There’s, you know, there’s a scene where they go to a, a group of, Christians that are trying to convert these kids, you know, into Christianity and get them off the streets and get them off drugs, that kind of thing. And they run into all these different groups around Canada and The US, and you sort of see that that there’s this little subculture going on that, for me, at that time, was only presented as this scary thing, this, oh my god, these punk kids.
What are they doing? They’re hurting each other and they’re they’re doing drugs in their and when you watch a movie like this, you really see that that that’s that’s not what it was. It’s not, you know, certainly drugs and alcohol and and promiscuous sex and all the other tools of the devil are certainly part of it, but it’s not really what it was about. It’s really about these disenfranchised kids that have found each other and formed this sort of community around each other. And I that really struck me when I was a young person, you know, like I said, I would have been 12, 13 years old.
I didn’t necessarily love all of this music, and I I have always found it interesting that social distortion is even here because Social Distortion is barely a punk band, much less a hardcore band. You know, they’re they’re really a straight up rock and roll band. And if you watch this movie, to me anyway, their songs really stick out. Like, every band in this movie kinda sounds like hardcore punk and they sound like Black Flag and you know those those bands. When Social D plays a song it sounds totally different, it sounds like they’re like they’re in the wrong place almost you know and that really struck me too.
So I fell in love with Social D on this from this movie, it would be years before they got really famous, maybe five, six, seven years later, but I always love these guys. I love the song, that, Mike Ness writes in the movie. But more than that, I think this is where I really went, you know, There are other kinds of music, and there are other scenes out there that are not being given to me on a normal basis that I am interested in. And this is really where I kinda fell in love with the idea of alternative music, even though I necessarily didn’t love these bands. All of them, I love social d, but I didn’t love all of these bands.
I loved that they were doing something different. And so I really kinda credit this movie with my later love of alter things alternative and things different and things outside the mainstream, things like that. So, just to kinda touch on this really quick, there were a couple of controversies with this movie. The biggest one being that there is a scene where they’re showing I think it’s during the part. I’m I’m trying to catch it this time.
It’s during the scene where they’re talking about moshing and what moshing is and what slam dancing is, and I then that part where that kid does the demonstration of what moshing is cracks me up every time. They are showing a group of people in a mosh pit or whatever, and they are playing a youth brigade song called Violence. That’s not who’s playing on the stage in that scene. And it is in fact Mad Religion that’s playing in that in that scene. Another band was not yet signed at the time and whatever.
So Bad Religion came out years later and said that movie sucks. It’s not doesn’t tell the truth and blah blah blah, but they’re really just talking about that. They’re talking about the fact that they’re playing and you’re hearing a different band. So that was one little controversy that I think is kind of nothing. And then the other one was that this movie was accused of being a sort of propaganda piece for the BYO, which was a I think it was called the Better Youth Organization, which was founded by the members of Youth Brigade.
It was basically this idea that they were gonna help kids, you know, not get in trouble and not getting wrapped up in drugs and alcohol and all this kind of stuff. They kinda created this sort of good vibes group. But people complained about this movie being a propaganda piece for that. It’s barely mentioned. And in fact, I think they spend much more time on this courthouse, which was Ian McKay’s straight edge movement thing in DC.
They spend way more time talking about that than they do about the BYO, which is essentially the same thing. So I think a lot of these controversies were just the other bands maybe sort of being upset about, you know, these bands getting hyped up and their band not getting hyped up. I think it’s more of a grudge thing than anything else. And so the last thing is that, you know, there are are people we interviewed in this movie that are sort of treated like just another member of the punk scene. There’s interviews with a guy named Keith, and it just says Keith on the screen.
Well, that’s Keith Morris. He founded Black Flag and the Circle Jerks, and those bands were established at the time. And then when they get to Washington DC, we have Ian. This, you know, this punk Ian. That’s Ian MacKay.
He created Fugazi and Minor Threat. Like, these were legitimate punk pseudo icons at the time that were sort of presented as, we just found this guy on the street. Let’s talk to Keith, you know. And it’s it’s not that. They these guys were were legit.
So those are some of the complaints about it. But, overall, I think, you know, in watching it again this week, it really just takes me back to a time when I felt like my my brain was opened up to this new thing. And even though I didn’t necessarily understand it, and I certainly wasn’t disenfranchised enough to, you know, leave home and go live on the streets with these kids. I was fascinated by them, and I was fascinated by the fact that they had found each other and bonded around this music. And, it really I’ve like I said before, I really do credit this with being the start of my journey into alternative music.
So that’s another state of mind. What’d you guys think? Super authentic, like unvarnished, it felt like you were you were definitely seeing these kids as they were. The you know, there’s no polish. There’s no, attempt to kinda, like, clean it all up, which I liked.
I think, you know, one thing that has changed that that made documentary filmmaking, I think I don’t wanna say more important back then, but the fact that they were able to capture that moment in time, right, they were able to capture that tour. They were able to capture these kids. And I keep saying kids because they were all, like, 17, 18, 19, 20, I think, pretty much across the board. You Like you said, they were not signed yet. Social d was not anything like what it was gonna be by ’88, ’80 ‘9, ’90.
They were a pretty big band, especially in the college radio world. But at that time, I doubt many people, if anybody, knew who they were outside LA. These days, you’re able to to capture all that yourself, and I think bands are able to even young unsigned bands are able to video and and capture all these moments, and they can record themselves on tour and record themselves on you know, doing all the things, and, like, that really wasn’t something that was super accessible, in ’82 in in particular. You know, you could get maybe a video camera, but I think these kids couldn’t even I doubt they could have afforded a video camera it didn’t look like. So, you know, if the if that documentary crew hadn’t been there and then by documentary crew, I mean, probably a handful of people with cameras and maybe a couple of lives.
They did have a truck. At the end, you find out they’ve been following them. But before that, it just looked like another kid with a camera was kinda just embedded with them, and and it definitely feels that way. I pictured, like, the big camcorder on someone’s shoulder. You know?
No. It’s a shoulder malfunction. Be what it was. You know? Yeah.
That you know, I I think that function isn’t as critical these days as it was because so many people are able to do that themselves now, and and everybody has a phone in their pocket. So I think maybe we forget how lucky we are to have these, like, artifacts where someone actually followed these kids on tour and got to kinda see what that vibe was like because it captures so much of the ethos of punk and the sincerity of these kids even when they are a bit pretentious and a bit, overwrought by certain things and, like, they’re they talk a mile a minute and they’ve got a million ideas in their head. They’re they also seem pretty smart across the board, pretty well spoken, in a lot of ways, things that you don’t necessarily maybe associate with the punk movement until you kinda see what was driving these kids. And they were coming, at it, particularly Sean Stern, you know, the the leader of Youth Brigade, really seemed and and Ian McKay, for that matter. Like, they had a an ethos that they were kinda going for.
Like, they wanted to do more than just play music. They want they wanted to, help kids and and give kids some hope. And and you see that all come out, and it’s it’s very, I don’t wanna say surprising, but it’s, you know, you the juxtaposition of what these kids look like and the music they’re making versus kind of how well spoken they are a lot of the time and and certainly how sincere they are comes across really strongly in the movie. And, like, it’s hard to deny that. Again, even at times where it’s like I mean, maybe those aren’t kids you would necessarily wanna spend.
You certainly wouldn’t wanna spend five weeks in a school bus with them. I think they all find out that out. Yeah. It’s it it really does open your eyes to to to things that I don’t think you would obviously think or know about if you just saw them say, come in, do their show, and leave. There’s a lot there was a lot more going on to that with them, and I’m sure with a lot of the other punk bands that were that were out on the road.
So I think that was kind of my biggest takeaway was just getting to peek behind the curtain and see a lot of it. So there’s some other moments, but I’ll I’ll let Keith kinda weigh in first, and then we can circle back because there was a few more eye raising moments as well. But, yeah. I’m curious what Keith thought since this is his first time too. Like I said, it was my first time to see it.
I came away with with two kind of primary, takeaways from it, and you guys actually both touched on each of you touched on one of them. The first one, that Scott mentioned was just how much more talented Mike Ness was than everybody else involved with it in any of that. Yeah. Like, you know, from the songwriting perspective, from the singing, from the guitar playing, from all of it, you could tell. I guess, you know, it’d be interesting to see that in, like, 8384 and see if people walked out of that, and came out saying, you know, well, that was fine.
That music was okay. But that one dude, Mike Ness, is gonna be a star because he was by far and away the most talented guy, you know, in all of that. And I, you know, think that showed out later in his career with what Socials d would go on to do later on. And then, Mike, you touched on the other thing that really stood out to me, and you described it as being sincere. I was gonna describe it as optimism, just kind of the the nature of youth when you’re that young and you’ve got an idea that you’ve really latched onto just how it can infect your head and and drive, you know, everything you do, your your career choices, although, you know, what these guys calling their music choices a career might be a little much.
I don’t know how much youth were paid you’re gonna have to do after this. But, but it still was just really interesting to me, you know, when you’re when you’re at that age and everybody, I think, kinda goes through it where you latch onto something, and it becomes, like, the the central thing in your life. And with these kids, it was it was the punk movement. And when you, saw them go to different cities, one of the first things that Sean, Sean, what was his last name again? Stern?
For the guy from Eastern. Yeah. Stern. One of the everything he talked about, every stop that he that they made, one of the things he would always mention were how the kids were. Oh, the kids were really good here.
You know, they they helped us out. They put us up. They fed us. Or, you know, there wasn’t much of a scene here. The kids weren’t really into it or whatever.
You know? And so I I thought that was neat, to get a look at kind of the the punk subculture and kind of the the optimism in all of those those young people at that time thinking that they were latching on to this movement that was particularly gonna change the world. They were talking about the, various members of the of the people that talked, you know, whether they were members of the band or whether they were just people that were in the singing, where we’re talking about, you know, the status quo has failed us, and, you know, the family structure isn’t working anymore, or, you know, we don’t believe in the ideals that the church is pushing on us. And so they had found the subculture where they all come together, And it was about positivity, and it was about, you know, we’re gonna do this thing, not just rebelling against all the things we don’t like, but, you know, we have have created this scene and this thing that’s different, and it’s ours, and and we’re gonna latch onto it and make it something, you know? And I thought that was neat.
I thought it was cool. It obviously didn’t really work out for them. At least, you know, most of them, you know? But, yeah, that was one of my key takeaways from it too. Like you mentioned, that is the sincerity and the optimism, of the youth movement, you know, at that time and how for those folks that it all came down to the punk movement and how into it they were.
It was it was neat. You know, it was a cool, like you said, little slice of time, for a certain kind of youth culture, and that was really interesting. I think it’s you’re absolutely right. And it would it that’s really to me where the movie latched on to me. You know, I I liked the I remember when I found this movie when I was a kid.
I liked the music. I remember that most of all that especially the song Another State of Mind that they kinda show my guest writing throughout the course of the movie, and then they play it over the end credits. I adore that song. I always have. And it was one of the first, like, punky songs I remember really liking.
But, yeah, what what really got me and I don’t know if you guys remember this or not, but at that time, probably even maybe a little before this movie, this movie was filmed in ’82 and then it comes out in ’84. Between that, SocialBee had their first album. But in ’82, we were presented the punk movement on television as this horrific subculture movement that was gonna destroy our children and, you know, what is wrong with kids today and all that stuff. It was, you know, it was that times a million. And there’s a very famous, clip from the Phil Donahue show where he had on a bunch of punks that kind of started yelling at the audience and spitting on people and whatever.
They’re all basically just you know, I think they got these kids in a room and said, okay, everybody do your best. Sid Vicious, for thirty five minutes, you know, and then that’s what they did. That’s what how this was presented to us. And then when I found this movie, I was like, you know, wow. That’s not what this is.
This is these kids trying to not do what everyone’s telling them to do and and be a culture, be a group, be together. And they’re obviously taking care of each other and they’re obviously, they’re like, you know, bound around something that adults couldn’t understand. And that’s kind of what makes it cooler, you know? The other thing I was gonna mention just real quick is that I don’t remember if this movie was heavily edited for the USA Network when they showed it. They did show it late at night, but I don’t remember the language.
And the other thing I don’t remember at all is the naked girl at the end, the girl that they find that’s like an artist and they show a bunch of naked pictures of her. Believe me, 12 year old me would have remembered that. And, I don’t remember that at all. So I think that was edited out. And to be honest, they should go back and edit it out again.
It adds nothing to the movie except maybe a couple of minutes. Maybe they were just trying to get it up to seventy five minutes. I don’t know. But, yeah, that part is kind of pointless. But, yeah, that came on and I was like, like, wait a minute.
I don’t remember this because I certainly would have. Yeah. I love the, I love that they kinda show the punk houses. You know, these houses where all these punks live and they have the shows because that’s something that continued to be part of punk culture. When I was interviewing Hagfish and they were talking about, you know, when they got started in Dallas, and this would have been the late eighties or early nineties before they, you know, recorded their albums in in, like, ’93, ’90 ‘4, they would go to punk houses and do shows like in Fort Worth or at least just around the DFW area.
And and I know that that continued even, you know, into the to late nineties and probably beyond, you know, but I obviously was not in touch with the culture or never really was in touch with the punk culture in any real way, but I I was aware that that was kind of a thing. But to see that the early punk houses and just like the, camaraderie and, like, hey, we’re gonna make a giant pot of chili and try to feed everybody and the band coming. They’re all gonna eat. You know? And these guys are making, like, dollars 10 a day if they are lucky.
That that that’s what they thought they were gonna make. I think they ended up making significantly less than that. They were happy to get 5, and just that was interesting. But, again, it speaks to that, you know, to the culture and to the camaraderie and to kinda like Keith was saying, the optimism of youth and, like, banding together because they all thought they were kind of part of a well, they I say thought they were part of a movement. They were part of a movement.
So that was kinda cool. Definitely some tough moments too. Like, I had a really hard time watching them talk to Marcel, the kid in a wheelchair that had been, like, hit by a car and in a coma. Like, is he getting health care that he needs? Not clear.
Like, he doesn’t seem like he should be just out out on the street in a wheelchair. Seems like he should probably be in a hospital. So, like, that was tough to see. But, I think homeless kids and kids that were living on the street were always a part of punk culture too. So I think seeing that was, you know, the girl who’s who’s kinda telling her story and is was kind of the downer part of the of the film for sure, but I think an important part of that because that was I I do think punk culture kind of embraced those people, and then I think people like you were saying, kids that wanted to leave home found themselves kind of either drawn towards or embraced by that type of culture at that time.
So that was kind of interesting to see. But but that was yeah. That was definitely a a bit tough to watch. My favorite moment, I would say, I really loved the the bay you know, Youth Brigade and and Social D and watching their their tour, obviously, is is the attraction. And I was never I’m not a huge fan of Minor Threat or a huge fan of Straight Edge or whatever.
Seeing them play in that basement where the roof wasn’t even five five feet tall, I don’t think, and they’re crammed in a basement where, like, the guy couldn’t even stand up straight, and they’re just jamming and and rocking out in in, like, an honest to God basement. I mean, like, I’ve never seen a small space before a band trying to play. Like, that was kinda cool because there’s just so clearly, like, wherever the fuck we can put a drum set in and squeeze some amps, so, like, if we can play without getting kicked out, that’s what we’re gonna do. And I mean, they were just jammed in that little spot, but they were rocking out. That that was pretty cool to to see.
So, yeah, some some lowlights and some highlights for me. You you mentioned it, but one of my favorite things is the the chili scene because that kid opens the door and he’s like, hey, come on in. How’s it chillin’? Like, even even Canadian punks are super nice. Like Right.
Yeah. That that part’s great. And, yeah, you’re right. There are some sort of downer moments like Marcel and and I I find that that, French Canadian girls, it it’s not her story is sad. It’s her delivery that’s sad.
She’s so like, that’s just her world. Like, that it’s so she’s so nonchalant about it. It it’s rather heartbreaking because, I mean, they don’t say, but that girl can’t be more than 17 or 16 years old. And and she’s you know, that’s just her life. That’s what she does.
You know? And Oniwei would would would would leap to mind in terms of the way she came across. Yeah. That’s the word I think I that’s a word I never have I maybe ever used, but it’s it’s I think it could possibly be more correct. But, yeah, she’s also tough to watch.
I’ve seen that that was I think that was juxtaposed with the discussion with Marcel. So seeing her was a relief after the Marcel and Boyd. Yeah. And and what you said about the the live performances, yeah, that’s that’s absolutely one of the things that was always appealing about that to me is that the sort of DIY aesthetic of punk is that, you know, we don’t need a concert hall. We don’t need a theater.
We you know, if there’s four outlets in the wall and and, a corner we can put a drum kit in, then we’re gonna rock it out. And I didn’t really at the at the time, when I was watching this movie as a young man, I didn’t really appreciate minor threat and that kind of stuff. But watching it this time, I I was like, oh, I get this. I I get why this was appealing to people. It’s it it has such a raw ethos to it.
That’s just it’s so if if that’s where your brain wants to go, it it takes you there, you know? And I I certainly appreciate, minor threat for what they were. I was told, and I tried to look this up and it’s kinda hard to find information, but I was told that, Discord House, which is Ian McKay’s and minor threats house, the the one that they show in the in the film, that that still exists. I have a feeling that over the years, it’s probably gotten nicer and maybe it’s more of a, organization now or something, but, you know, not quite the flop house it was in in ’82 when they filmed this, but that he still takes in kids that are on the streets or whatever and gives them a place to stay and stuff. So that that part of it never went away.
You mentioned the parts of it that were a little bit more to watch. And, you know, toward the end of it, most of that stuff is toward the end of the movie, the stuff with Marcel and the and the Kevin Clark girl. But, is also toward the end is when the other, you know, people involved with the tour, the band members and the roadies, and all start slowly dropping away. You know, they go from 11 people in the bus down to nine, and before it’s all over, they’re down to four. And I think there’s a good parallel there, kinda also, when you are that young and and you’re into a culture like that, you know, it almost it’s not every gonna last.
You know, it’s very few people, that were involved with that are still involved in the punk movement right now. You know, I bet most of those kids ended up getting married and having kids and doing the the normal thing, you know? And I think it’s neat that, you know, kinda as the movie goes on, you kinda see that kinda slow disintegration as things kinda break down and all the band members are are leaving and the roadies are leaving. And at at the end of it, you know, the youth brigade and the one roadie that are left are you’re having to abandon the bus because the bus is completely broken down and they’re having to catch a ride back in the in the truck, you know, the the TV truck or the film truck. Just kind of a a neat parallel there, I think, to kinda how you know, you get to see the scene at its best, and then you also get to see kind of the scene as it’s disintegrating toward the end.
You know? I thought that was neat too. I would ask, Scotty, I I don’t know Social D as as well as you do. Everybody left might miss on that. He was the last member of Social d still on that tour.
Did those guys get back with him? Are they still the band Social d, or did he get a completely different band after that? Yeah. So they they kind of revolving door for a while at that time and then settled on the lineup. But I I’m not a % on this, but I am pretty sure that, the band that recorded not the album that came out right about the time this movie did.
I think this band recorded that album. But then after that, it’s it’s been Mike Ness and a revolving door of other guys. I think that I think as as early as, like, the the late eighties probably when they really started to break out, none of the guys you saw in this movie were in that band. Gotcha. I was wondering I was curious about that too.
I think one of them yeah. One of the guys stuck with him for a while, like, through even through up until, like, they had the major label breakthrough and stuff, but, yeah, everybody else And some of them left and came back, and now, you know, it’s one of those if you go to Social d’s Wikipedia page, you know, where it has the former members, Yeah. It’s it’s like two pages. It’s a total page. It’s a total page.
Yeah. A lot of people have been in that band. So No. I laughed because I went and usually it’s like, you know, you you go to a band page and it’s, you know, it’s got their history, their try you know, their the discography and then, you know, the members. And usually, there’s a nice little chart sometimes people have made of, like, when people come Oh, yeah.
The the time off. The Cure, you know, who have had plenty of people in and out. Social d has, like, a click here to actually see the page go through the social discovery. It’s to make it to It’s a lot of dudes have come in and out of that band, and it’s always been Mike Ness’ band. You know?
It’s it’s he’s always kinda been the driving force of that band. And and it’s not like, you know, the in a band like that, the musicians are are relatively interchangeable. You know, they’re they’re there’s there’s not a whole lot going on that you need, you know, world class musicians for. What you do need is a great songwriter and Mike Ness is that. So I I think that’s the key to their success.
And you really see that in this movie. I I hope, you know, anyone goes and watches this. You really need to notice, like, when they play a youth brigade song or they play a a minor threat song or or any of the other things you hear in this movie, and then you hear a social d song. There is a noticeable difference Yeah. In the quality of the the songwriting and presentation of those songs.
Yeah. Songwriting in particular, I would say. Yeah. The performances are still they’re all very raw, obviously, all of them. But, yeah, you can tell.
You can definitely tell that, like, social d is onto something. You you can just kind of feel it. Yeah. You just see it that they’re that this band, they’re maybe not, they’re gonna make it big. Maybe that’s not your thought, but like whatever this is, this band is a little bit better than they’re they’re better than whatever all this is, you know, and then you and you you hear it loud and clear in this movie.
Yeah. Super enjoyable. Highly recommended. It’s on YouTube, so it it’s free. Another state of mind, the documentary, obviously, there is also a song by Social D called that as well.
I just wanted to to say on that real quick. I kind of had one of the reasons I hesitated with this movie was because it was kinda hard to find, and I really don’t like the YouTube thing because they’re always, you know, this looks like crappy VHS and that’s what it is. So I I don’t think this looked any better, you know, forty years ago when it was made. This is what it looks like. So you are you have my approval to watch it on YouTube is what I’m saying.
Yeah. And I don’t think it’s obviously, as someone who who just made a movie and is you know, would like to recoup some of my costs someday on it, I don’t recommend just going to YouTube and pirating a movie, you know, if it’s not supposed to be on YouTube or whatever. I I looked everywhere. I was not able to find anywhere that I could give someone money to watch this that where I thought the money would go back to the filmmakers Yeah. Or at all.
So, like, I you know, I think it’s fine to watch this one on YouTube. It’s been out for forty years. I doubt that I I don’t think you could give money to the filmmakers even if you wanted to. So I don’t think you could find them if you wanted to. I don’t think you could.
Honestly. I think you could. Alright. So we’re actually gonna break there. We had so much fun talking about these documentaries that we’re actually gonna break this episode up into, a couple episodes.
Otherwise, it would be far too long. So, next week, we’re gonna talk about another fantastic rock documentary. We had a great time talking about another state of mind, so go check it out. And if you have some time, go check out 35,000 watts, the story of college radio. It’s available right now to rent or buy on Amazon Prime and Google Play.
Thanks again for listening. Thanks to Keith and Scott. We’ll see you next week on 35,000 Watts, the podcast.